Radio 4

Dance motherfucker, dance.

Radio 4 are about to make their long-awaited return to these shores, but not before KaitO pull a few surprises out of the hat. KaitO eh? Whowoulda thunk it, that these boyz/girlz from Norwich would still be shooting the shit now. If they’d been folly to the UK music industry’s rather dumb way of thinking – “you’ve been around three years and done nothing; we’re not interested” – then we wouldn’t have them now.

Be thankful KaitO aren’t stupid. Memories of their ‘recorded output’ over the last eight years or so is beaten into submission by the live KaitO PUMMELLING GUITAR MACHINE. Just a pity, then, that the backing vocals – their very important asset – are rendered totally inaudible. With everything played at 100mph and the guitars turned to level ‘ear-bleed’, there is a drawback to seeing KaitO live: I listened to their American EP ‘Montigola Underground’ two days later and it sounded totally bollocks in comparison. Hmpf.

And this brings us neatly onto Radio 4, whose rather fine ‘Gotham’ album has secured the New Yorkers their place in the line of other rather fine dance punk rockers. Their sole intention tonight is to make the Shoreditch crowd shake their butts – a challenge only the bravest of bands dare attempt – and they pass the test with flying colours. Well, mostly.

Starting with forthcoming single ‘Party Crashers’, it seems a bit of a waste. The song’s destiny is that of a hundred dance remixes. It is the essence of Madchester (with a bit of Underworld’s ‘Dirty Epic’ thrown in for good measure). And it’s played first, when we’re just warming up. Confused looks. Little movement.

Fortunately they waste no time getting into the songs we know better. The particularly brilliant ‘Start A Fire’ and ‘Save Your City’ showcase Radio 4 at their (near) best; a simple hook, no bullshit, no cooler-than-thou pretension. It goes horribly wrong with the awful reggae plod of ‘Pipe Bombs’ (less of this, please) only to be picked up again with the new songs, which a sounding more focussed and, well, more POP than before.

But throughout all this, it’s pretty bloody obvious the best will be saved for last and it’s not until ‘Eyes Wide Open’ that the place explodes with flailing limbs and terrible dancing, then closer ‘Dance To The Underground’ and its instantly recognisable bass intro and political undertones stealing the show.

Roll on the August tour.

Photo by Sonia Melot.